Modernism/modernity最新文献_第2页

Utopian Spontaneity: Adorno's Concept of Mimesis and Surrealist Automatic Writing 乌托邦的自发性:阿多诺的模仿概念与超现实主义的自动写作

IF 0.2 4区社会学

Modernism/modernity Pub Date : 2023-01-01 DOI: 10.1353/mod.2023.a902600

J. Kaushall

{"title":"Utopian Spontaneity: Adorno's Concept of Mimesis and Surrealist Automatic Writing","authors":"J. Kaushall","doi":"10.1353/mod.2023.a902600","DOIUrl":"https://doi.org/10.1353/mod.2023.a902600","url":null,"abstract":"This essay discusses how surrealist automatic writing may break an impasse in the philosopher Theodor W. Adorno’s work. 1 Adorno argues that, since the advent of instrumental rationality in modernity, the subject has repressed an aspect of her self— mimesis—that expresses the desire to attain proximity to an object through imitation rather than conceptualization ( Aesthetic Theory , 145–46). This aspect, which is a mode of experience, is employed so that the subject may cognize the object without discursive control. However, since the promise of modernity—to emancipate the subject through rational freedom—has been broken and distorted by late capitalism, the status of mimesis has been thrown in doubt. Adorno argues that mimesis is marginalized in modernity: instead of occurring in epistemological cognition, it now has been forced into aesthetic experience (that is, the experience of natural beauty as well as artistic objects) (69, 146). 2 Mimesis is reduced to imitating reified and damaged life (through artistic technique, which develops according to the vicissitudes of historical experience), which means that any intimation of metaphysical transcendence (such as materialist utopian hope) must be negative. For instance, in the Dialectic of Enlightenment , Adorno and Max Horkheimer argue that mimesis is an irrational subjective impulse—which, when coupled with rationality, could become redemptive: “The chaotically regular flight reactions of the lower animals, the patterns of swarming crowds, the convulsive gestures of the tortured—all these express what wretched life can never quite control: the mimetic impulse. In the death throes of the creature, at the furthest extreme from","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"30 1","pages":"1 - 19"},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41735039","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Poetics of Liveliness: Molecules, Fibers, Tissues, Clouds by Ada Smailbegović (review) 《活力的诗学:分子、纤维、组织、云》艾达·斯迈别戈维奇著(书评)

IF 0.2 4区社会学

Modernism/modernity Pub Date : 2023-01-01 DOI: 10.1353/mod.2023.a902616

Joshua Corey

引用次数: 0

Telling Time in Modernism 在现代主义中讲时间

IF 0.2 4区社会学

Modernism/modernity Pub Date : 2023-01-01 DOI: 10.1353/mod.2023.a902617

S. Cole

引用次数: 0

Making Us New: From Eugenics to Transhumanism in Modernist Culture 让我们变得新：从优生学到现代主义文化中的跨人文主义

IF 0.2 4区社会学

Modernism/modernity Pub Date : 2023-01-01 DOI: 10.1353/mod.2023.a902608

Maren Linett

引用次数: 0

Illustrating Eliot: Edward McKnight Kauffer and the Ariel Poems 插图艾略特:爱德华·麦克奈特·考弗和阿里尔诗歌

IF 0.2 4区社会学

Modernism/modernity Pub Date : 2023-01-01 DOI: 10.1353/mod.2023.a902603

John T. Quin

{"title":"Illustrating Eliot: Edward McKnight Kauffer and the Ariel Poems","authors":"John T. Quin","doi":"10.1353/mod.2023.a902603","DOIUrl":"https://doi.org/10.1353/mod.2023.a902603","url":null,"abstract":"ion, and flattening the planes of perception emerged from his poster designs of the 1910s–20s prior to his success in the London publishing world from the mid1920s. From 1915, the British transport administrator Frank Pick commissioned a series of posters by Kauffer depicting London boroughs and various English countryside landscapes, as well as advertisements for winter sales reached by underground train. Kauffer’s Winter Sales posters feature abstracted shapes in bold colors to represent commuters in coats with stippled effects and diagonal stripes to represent snow and rain. He assimilated different styles and schools of graphic art into his poster designs and later illustrations, and his range of underground posters united the conventions QUIN / edward mcknight kauffer and the ariel poems 61 of Japanese color prints, Toulouse-Lautrec’s poster designs, and Vorticist painting (Haworth-Booth, Kauffer, 27–28). The Winter Sales posters were particularly admired by Fry for the experimental design and abstract forms, which Fry believed the public were more receptive to on their daily commute: “It is surprising, what alacrity and intelligence people can show in front of a poster which if it had been a picture in a gallery would have been roundly declared unintelligible. The judicious frame of mind evidently slows the wits very perceptibly.” According to Fry, the silhouetted, simplified, and abstracted forms of shoppers braving the weather were readily identified as such on the underground hoardings. Outside the galleries of high art, or indeed beneath them in Kauffer’s subterranean gallery, the public was more receptive to abstract art and experimentation. The ubiquity of poster adverts might allow the modern artist to smuggle in a new style and cultivate new modes of appreciating art. For Kauffer, this abstract simplicity was a fundamental property and requirement of modern poster design. In The Art of the Poster (1924), he stressed that the compositional arrangement of a poster was necessarily different from “pure painting” because of the demands of advertising. The poster must convey a set of facts to the spectator with a perceptible immediacy that also “remain[s] impressed upon his memory.” Kauffer’s reputation as the preeminent “poster-king” has been duly cemented by recent critical and curatorial attention (Lewis, Blasting and Bombardiering, 212). However, his prolific illustration work and book cover designs have received less attention. Elements of Kauffer’s poster design aesthetic, his insistence on symbols and compositional arrangements that were simple but memorable, proved complementary to his burgeoning work as an illustrator. From the 1920s–30s, he worked for some of the most prominent publishers in London, including Francis Meynell at Nonesuch Press, Victor Gollancz, Harold Curwen, Richard de la Mare at Faber and Gwyer, and Leonard and Virginia Woolf at Hogarth Press. Similarly, by the mid-1920s, Eliot was a well-established cultural f","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"30 1","pages":"57 - 81"},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43653295","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Corroding Geometries: Elsa Gramcko, Automobility, and the Paradoxes of Venezuelan Modernity, 1955–1965 Corroding Geometrys:Elsa Gramcko，《汽车性与委内瑞拉现代性的悖论》，1955–1965

IF 0.2 4区社会学

Modernism/modernity Pub Date : 2023-01-01 DOI: 10.1353/mod.2023.a902607

Devon Zimmerman

引用次数: 0

Wallace Stevens, Plato, and the Question of Poetic Truth 华莱士·史蒂文斯、柏拉图与诗歌真理问题

IF 0.2 4区社会学

Modernism/modernity Pub Date : 2023-01-01 DOI: 10.1353/mod.2023.a902606

J. L. Hart

引用次数: 0

Queer Desire and the Anthropological Imagination: Randolph Stow and Bronislaw Malinowski in the Trobriand Islands 酷儿欲望与人类学想象:特罗布里安群岛的伦道夫·斯托和布罗尼斯拉夫·马林诺夫斯基

IF 0.2 4区社会学

Modernism/modernity Pub Date : 2023-01-01 DOI: 10.1353/mod.2023.a902601

Ellen Smith

引用次数: 0

Modernist Poetry and the Limitations of Materialist Theory: The Importance of Constructivist Values by Charles Altieri (review) 现代主义诗歌与唯物主义理论的局限性:查尔斯·阿尔蒂耶里建构主义价值观的重要性(书评)

IF 0.2 4区社会学

Modernism/modernity Pub Date : 2022-11-01 DOI: 10.1353/mod.2022.0046

Lukas Moe

{"title":"Modernist Poetry and the Limitations of Materialist Theory: The Importance of Constructivist Values by Charles Altieri (review)","authors":"Lukas Moe","doi":"10.1353/mod.2022.0046","DOIUrl":"https://doi.org/10.1353/mod.2022.0046","url":null,"abstract":"891 The first issue of the latter journal included a manifesto declaring that “surrealism alone has recognised the historical mission of laziness” (210–11). Chicago Surrealists produced an explosive cultural mixture, combining IWW sabotage tactics, surrealist imagination, and Herbert Marcuse’s “pleasure principle.” In the 1970s, Franklin Rosemont had an extended correspondence—some of which was published—with Marcuse, who, despite some disagreements with his young friend, believed that surrealism was an effective antidote to the “performance principle” which produced in the necessity of work. As Penelope Rosemont argues in “A Brief Rant Against Work,” a pamphlet from 2000 that invokes to Marx, Breton, and Marcuse, “without work, the capitalist juggernaut . . . would grind to a halt” (182). This last chapter of Susik’s book holds special interest because it shows that surrealism as a movement of cultural subversion was not limited to Paris and did not end with Breton’s death. Thanks to Susik, an important aspect of surrealist activity and of the surrealist “structure of feeling” has been thoroughly analyzed and discussed for the first time. Future scholarly reflections on this unique movement, founded in 1924 but still active in many places in the world, will have to take into account her narrative of surrealist sabotage.","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"29 1","pages":"891 - 893"},"PeriodicalIF":0.2,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48625427","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Ulysses by Numbers by Eric Bulson (review) 埃里克·布尔森的《尤利西斯与数字》（评论）

IF 0.2 4区社会学

Modernism/modernity Pub Date : 2022-11-01 DOI: 10.1353/mod.2022.0044

Zan Cammack

{"title":"Ulysses by Numbers by Eric Bulson (review)","authors":"Zan Cammack","doi":"10.1353/mod.2022.0044","DOIUrl":"https://doi.org/10.1353/mod.2022.0044","url":null,"abstract":"887 placement were never far from questions of identity. Even apart from the “critical commonplace” of treating “Leopold Bloom as an instance of the Wandering Jew figure” (159), it seems that what “most reminds one of Steinberg’s sense of himself as Jew” is the very “ambiguity of Bloom’s Jewishness . . . . Steinberg takes his Judaism as a fact, but his responses to it range from superficial acknowledgment to painful remembrance” (160). Feldman’s study—whose material vehicle, by the way, is a thing of beauty, its typefaces and proportions splendidly right throughout—is somewhat peripatetic in its own way. Though thoughtfully organized into four parts (introduction; Steinberg’s writing, drawing, and reading; Steinberg and Nabokov; Steinberg and Joyce) it seems by intention fluid rather than blocky: the parts are by no means symmetrical, and topics from one chapter frequently surface in others. One effect of this recurrence is a certain tightening, a reinforcement of Feldman’s case for profound interconnections among the elements of Steinberg on which she focuses. But another effect is loosening, the reader feeling carried along on a Steinbergian-Nabokovian-Joycean sort of voyage—a journey, that is, on which one learns a great deal one likely could not have learned on a straighter path from premise A to conclusion B. It’s perhaps fitting in more than one sense, therefore, that the last part of Feldman’s study echoes in key ways the first chapter to follow the two introductory ones. Both concern works that, thanks to the disposition of their components, at once resist being apprehended as unitary and assert the artist’s power to analyze, represent, and organize. Chapter three offers a multilayered reading of Steinberg’s Washington, D.C., 1967, in which an intensely concentrating artist constructs a labyrinthine mini-world with his pen. The last part of the book examines assemblages by Joyce and Steinberg: from the former, Ulysses; from the latter, renderings in several media of the artist’s drawing table, which is sometimes analogized to the page. Both, as Feldman observes, promote a “dialectical reading and viewing process,” inviting “the spatial view from on high and the close-up examination” and wedding “organized grid” to “multivectoral commotion” (269). But both, like Washington, D.C., 1967, also communicate the power of the artist-magician-hierophant, who remains virtuosically present in spite of the work’s overtures to impersonality. Ulysses and Steinberg’s tables “have an aura of magic about them, as if the things of . . . daily life present a ritualistic gathering—and then flicker back to the quotidian” (277). Or as Steinberg himself said of the tables, “In these . . . I am disguised as a painter, a draftsman, a designer, in objects on my table, the pencil, that’s me” (242).","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"29 1","pages":"887 - 889"},"PeriodicalIF":0.2,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44212261","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0